Composer and pianist Federico Albanese shows how classical music is changing artistically because of the digital market.
Which streaming service do you think is best for classical music?
That’s a tough one, but I’d probably say Tidal for its high-quality, lossless streaming — the sound is really impressive. That said, Spotify and Apple Music are also great, not just for listening but for promoting your work as well. Still, for me, nothing compares to listening to classical music on vinyl. It’s not just about the sound quality, but the experience itself — taking the record out, placing it on the turntable, and taking time to listen. Streaming tends to encourage quick, distracted listening, where you skip tracks without fully engaging.
Do you think streaming is beneficial for classical music artists and listeners?
From a market standpoint, absolutely. Streaming platforms make it possible for listeners to access an enormous library of music at a very accessible price. For artists, it’s also a valuable tool — it allows us to share our music with a global audience relatively easily.
In your opinion, how do most people listen to classical music today?
It’s hard to say with certainty. I think classical music fans often still prefer physical formats like vinyl and CDs. I use both — I have a decent record collection, but I also use platforms like Tidal and Spotify. The way we consume music has definitely changed. With the rise of high-quality Bluetooth speakers, like those from SONOS, which are easy to connect to phones and laptops, streaming has naturally become the dominant method.
Has the digital market changed classical music artistically, in your view?
In some ways, yes. The growth of streaming platforms has had a dual effect: it has made classical music more accessible, but also more superficial in how it’s often consumed. People now tend to listen to it while working, studying, or relaxing — it’s become a kind of background music. Of course, music has always had a background function — people play it while cooking or reading, for example. But with physical formats, you typically choose specific music that suits your mood or activity. Streaming often removes that choice — algorithms decide what plays next, and we usually go along with it because it’s convenient. The downside is that it can lead to a lot of superficial or derivative content, and sometimes even to artists who exist only on streaming platforms, without any deeper artistic identity or history.
What’s your process when making an album? Do you record in a studio or produce it yourself?
It’s usually a mix of both. I like to keep the recording process spontaneous — I often record myself using tape recorders and pianos. Sometimes I’ll even record on the road, like after a soundcheck, if there’s a good piano and room available. I handle the production myself as well. The studio becomes more relevant during the mixing phase. That part is crucial because having an outside perspective helps shape the final sound and allows the music to breathe in a new way.
